Click here to view my general reel. Details on each project can be found on the Vimeo page, and on this site, in most cases.

Click here to see my modelling/texturing reel. It doesn't have a lot that isn't in the general reel, but skips out work that wouldn't be very relevant to a job focusing on these areas.

CAMPANELLA

This is a character I'm hoping to do something with at some point, though at present it's hard to say what that will be. The images below are high-res renders with Photoshop compositing/refinement, but the footage on my showreel is from a real-time version in Unity, just to confuse people.2015.

FUTURE SOLDIER

A character and environment I created to further improve my realistic 3D skills (following insect below). Everyone loves a space marine, right? Of course they do. It's probably worth mentioning that the head was started from a generic blonde female model made by someone else, as I didn't have time to create a whole new head. I used Substance Painter for texturing, which particularly helped to speed along texturing of things like wear and dirt. Click for a huge version. 2015.

PLAYSTATION 3 DYNAMIC THEMES (SCEE)

I spent three years working at Sony, creating PS3 dynamic themes (customised menu backgrounds, icons etc.), mostly available via the PlayStation Plus service. I did about 70, usually being responsible for all elements from concept to delivery. It's worth noting that they needed to be done in 2-3 weeks each, so planning and concepting needed to be fast and decisive, with little room for changes that would take more than a day to implement. I also had to meet a range of client expectations on marketing-based themes. Sometimes I would be given free-rein to work with game assets, though for instance Warner Bros. Pictures would usually have specific criteria to meet, and famed perfectionist Fumito 'Shadow of the Colossus' Ueda asked to make changes himself. 2011-13.

An interview with me talking about it can be found here. A reel of (almost) all of the dynamic themes I created at Sony can be found here.

Here are some images, some directly from themes, others just imagery from themes. The following use models/imagery created by someone else: Assassin's Creed: Revelations (Ubisoft), The Dark Knight Rises (Warner Bros.), SEGA Mega Drive Classics (SEGA), Start the Party! Save the World! (Supermassive Games)

INSECT ANIMATION

This is just a clip I did for my showreel, to hone my realistic 3D skills. There is a wider view if you click for the full image. 2014.

YUMI - REUTERS WEB ADVERT

I worked at Reuters, creating the robot for this real-time WebGL advert for their site. It's advertising a human-friendly industrial construction robot that costs something like £2 million to buy. I retopologised it from a high-res CAD model and baked normal maps, then created other textures, rigged, and animated it. The animation can be seen on my showreel, unless I've removed it and forgotten to remove this text. 2015.

UNANNOUNCED PS4 GAME

The following images are from a 'vertical slice' demo I worked on for a PS4 game. I did all modelling and nearly all texturing (mostly from concept art), plus level layout, lighting, and lightmapping in Unity. I produced two levels and about seven characters over the course of a couple of months, so it probably could have been more refined if not for these time constraints. 2014.

DEEP IN THE FOREST...

The original premise for this was to do something with a 3D version of Nello, a character I'd designed a while back (see 2D section). I later created a short animation with the models. Whereas originally the grass helmet was mainly done for surreal value, in this he's meant to have crash-landed in a forest which is taking over all of his modern equipment, though I didn't think it mattered too much if people didn't pick up on this. The banner image was created for my CGSociety page (alfra.cgsociety.org). 2010/13.

I originally did this a while ago (I used the model as a base for the Witch character above, in case you see a similarity), but recently updated her, as the old dress didn't really go with the mood. I half-cropped the flowers to encourage you to click for the big version. 2013.

Some of the details might be a bit lost in the gloomy Photoshop work, so here's a clearer and less mysterious image (if you enlarge it).

TWISTED MANOR

This is a semi-educational adventure game from Bossa Studios (of Surgeon Simulator fame) in which you rescue your Dad from the villainous Trickster and inadverntently expand your vocabulary while doing it. I believe it's been distributed in American schools and will later appear on Android and Apple stores. I mostly did rigging and animation using Maya, using the 2D imagery as textures on 3D planes. 2014.

ONE TOP TRAINER

I did a couple of animation/motion graphics bits for a fitness-based website. This is one of them, utilising a stock base model, to which I added clothes and hair. You'll need to click play. 2015.

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BIRD CATHEDRAL

I'd been planning to do a realistic 3D project for a while, but couldn't decide whether to do an environment or creature, which I think is where this idea came from. It was created with Maya, Photoshop, and a little bit of ZBrush. I learnt a couple of new things for the project, most notably using Maya Fluids to create the background clouds. 2010.

Images done as part of a series of print adverts. They took about a week to complete, including working out how I could do it without too much painstaking number-placement. To aid the number-distribution process I built models of the objects, split them into regions, and used the regions to emit different shades of number with particle dynamics. I also used a MEL script to get some of the other numbers to spread about in a semi-random manner. 2007.

EDWARD

This was a project I did largely with the aim of learning ZBrush. It was based on a Gnomon Workshop video tutorial and used ZBrush for almost all of the character modelling and texturing. 2007.

Sucker was a short live-action film, directed by Keir Black, set in North Africa but filmed in Derby, shown at various film festivals around the UK. I did all VFX work for the film, including motion-tracking in Maya and compositing in After Effects. I started work on it just after finishing uni, and had to learn quite a few skills in order to get it all done. 2005-06.